A living and dynamic tradition, blues is forged in hard times but is also powerful enough to bring on the good times!

Legends such as Lead Belly, Memphis Slim, Big Bill Broonzy, Elizabeth Cotten, Sonny Terry, and Brownie McGhee, among others formed the “blues backbone” of the great Folkways Records.

This compilation from the Smithsonian Folkways collection spans half a century and features Delta, St. Louis, Southwest, and Chicago styles performed by some of the best-known figures in blues history.

From boogies to ballads, full of innuendo and irony, this classic collection is a jukebox in a jewel case.

Starting in the 1940s, Folkways made significant blues recordings, particularly of important artists who might not have had the easiest time getting or keeping contracts with more commercial labels, but still had something to say artistically.

This expansive 26-track compilation assembles material recorded between the 1940s and 1990s that showed up on various Folkways releases.

Unfortunately, the liner notes don’t name the exact dates of all the recordings, but certainly the substantial majority of them predate 1970.

Overall, it’s a rather good compilation of many major and minor mid-20th century blues with numerous diverse performers and styles.

While acoustic guitar blues (including a field recording of K.C. Douglas’ “Mercury Blues,” later covered by Steve Miller) gets a fair amount of airtime, so do boogie piano, a cappella singing (Vera Hall), and some actual Delta blues (Son House, from a 1942 field recording).

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Piano pumper Mephis Slim (1915 – 1988) and bass thumper Willie Dixon (1915 – 1992) were kindred spirits. Both men were commanding vocalists and brilliant songwriters who played key roles in shaping the Chicago blues sound of the 50s, though their roots were in an earlier era.

The two blues men usually worked separately, but during in the late 50s and early 60s, they frequently teamed up for recordings, club dates, and concerts, often in Europe.

This recording of a 1962 show in Paris is a vital document of that assoiation. It’s not a landmark event in either of the blues legends’ distinguished recording careers, but it’s a nice enough outing with a friendly, low-key tone.

Slim recorded a lot of LPs in the early ’60s, often as a solo pianist/vocalist, and this is frankly more lively than his norm for the era, if for nothing else than the fact that he’s playing in a band. The Dixon-sung tracks are interesting inasmuch as he didn’t record much during this period, though he’s really adequate at best as a singer.

When Slim sings, he sticks mostly to self-penned material; the Dixon-fronted cuts may stir some curiosity among blues fans due to the inclusion of some of Willie’s more obscure compositions, like the novelty-tinged “African Hunch with a Boogie Beat.”

Tracklisting

01.Rock and Rolling the House 02.Baby Plase Come Home 03.How Make You Do Me Like You Do Me 04.The Way She Loves a Man 05.New Way to Love 06.African Hunch With a Boogie Beat 07.Shame Pretty Girls 08.Baby-Baby-Baby 09.Do de Do 10.Cold Blooded 11.Just You and I 12.Pigalle Love 13.All by Myself

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